Thank you for attending our virtual paper at the Suncoast Music Education Research Symposium. If you have any questions or comments about our research, feel free to email me at ahodgson@uwo.ca. The other members of our team are Dr. Laura Benjamins (Redeemer University) and our student research assistants Gustavo Jimenez Pereira (PhD candidate), Rayne Dias (PhD candidate), and Elinor Smallman (undergraduate research assistant).
Bibliography
Atkinson, P., Watermeyer, R., & Delamont, S. (2013). Expertise, authority and embodied pedagogy: Operatic masterclasses. British Journal of Sociology of Education, 34(4), 487–503. http://dx.doi.org/10.1080/01425692.2012.723868
Bandura, A. (1977). Social learning theory. Prentice-Hall.
Biggs, J. (1996). Enhancing teaching through constructive alignment. Higher Education, 32(3), 347–364. https://doi.org/10.1007/BF00138871
Carey, T. L. (2010). A Look at the Studio Class: An Efficient Use of Time. American String Teacher, 60(2), 32–35. https://doi.org/10.1177/000313131006000222
Cosby, L. L. (2011). Master classes for the high school private studio. Journal of Singing, 68(2), 195–198.
Creech, A., Gaunt, H., Hallam, S., & Robertson, L. (2009). Conservatoire students’ perceptions of Master Classes. British Journal of Music Education, 26(3), 315–331. https://doi.org/10.1017/S026505170999012X
Daniel, R., & Parkes, K. A. (2017). Music Instrument Teachers in Higher Education: An Investigation of the Key Influences on How They Teach in the Studio. International Journal of Teaching and Learning in Higher Education, 29(1), 33–46.
Gaunt, H. (2008). One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal teachers. Psychology of Music. https://doi.org/10.1177/0305735607080827
Gaunt, H., Creech, A., Long, M., & Hallam, S. (2012). Supporting conservatoire students towards professional integration: One-to-one tuition and the potential of mentoring. Music Education Research, 14(1), 25–43. https://doi.org/10.1080/14613808.2012.657166
Haddon, E. (2014). Observational learning in the music masterclass. British Journal of Music Education, 31(1), 55–68. https://doi.org/10.1017/S0265051713000223
Hanken, I. M. (2015). Listening and learning in a master class. Music Education Research, 17(4), 453–464. https://doi.org/10.1080/14613808.2014.930121
Hanken, I. M. (2016). Peer learning in specialist higher music education. Arts and Humanities in Higher Education, 15(3–4), 364–375. https://doi.org/10.1177/1474022216647389
Helding, L. (2010). Master class syndrome. Journal of Singing, 67(1), 73–79.
Knecht, M. (2024). Developing a studio/group class toolbox of ideas for advanced string students: Best Practices of Master Teachers. American String Teacher, 74(4), 17–24. https://doi.org/10.1177/00031313241282765
Lave, J., & Wenger, E. (1991). Situated Learning: Legitimate Peripheral Participation. Cambridge University Press. https://doi.org/10.1017/cbo9780511815355
Long, M., Creech, A., Gaunt, H., & Hallam, S. (2014). Conservatoire students’ experiences and perceptions of instrument-specific master classes. Music Education Research, 16(2), 176–192. https://doi.org/10.1080/14613808.2013.859659
Long, M., Gaunt, H., Hallam, S., & Creech, A. (2011). Mapping master classes: Format, content and style (p. 183). Guildhall School of Music & Drama. https://www.academia.edu/download/30791296/mapping-masterclasses.pdf
Long, M., Hallam, S., Creech, A., Gaunt, H., & Robertson, L. (2012). Do prior experience, gender, or level of study influence music students’ perspectives on master classes? Psychology of Music, 40(6), 683–699. https://doi.org/10.1177/0305735610394709
Schön, D. A. (1987). Educating the reflective practitioner: Toward a new design for teaching and learning in the professions (1st ed.). Jossey-Bass.
Taylor, A. (2010). Participation in a master class: Experiences of older amateur pianists. Music Education Research, 12(2), 199–217. https://doi.org/10.1080/14613801003746576